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Photoshop and Lightroom Creative Cloud Additions in 2015

Lesson 3 of 25

Develop Modules: Vibrance & Dehaze

Ben Willmore

Photoshop and Lightroom Creative Cloud Additions in 2015

Ben Willmore

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Lesson Info

3. Develop Modules: Vibrance & Dehaze

Lesson Info

Develop Modules: Vibrance & Dehaze

So let's, look at some of the changes they've made in the developed module and see what we can do with them. So in the developed module under the choice called a fax, is a new choice called d hayes. You'll find that if you have a hazy image like this one here, whereas you look further into the distance, it looks more kind of foggier hazy there. Usually what happens is in those hazy areas, the darkest part of your picture won't be all that close to black where's, the areas near the camera where it's not as hazy, the darkest part of your image will be closer to black. As I bring up a slider called d hayes it's going to adjust this image, it's going to concentrate the adjustment into the hazy areas in and apply the adjustment a little bit less and less as it gets into the non hazy areas. And what it's going to be doing is making the darkest part of the image darker and darker to make it closer and closer to being black, and in doing so, it will start to break through some of that haze. So...

let's, take a look here, I'll bring up the haze and you see the darkest part of the image near the top it start to get darker and darker. Now you got to be careful when you used to haze because a lot of people end up trying to make their images more colorful and to make your mitch more colorful usually go to the basic tab and under the basic tab is a choice called vibrance, and people love to crank up vibrance to make their images colorful. Well, you got to be careful with vibrance because it concentrates in treats blues separately from other colors in your image, it assumes that it turns blue in your picture is a blue sky, and blue skies look great if they're dark in colorful. So when you bring up vibrance it's going to darken and make more colorful things that are blue and the problem is anything that's in your shadows in your image, anything not directly lit by the sun is usually bluish in color. It's just the lighting if you have any kind of blue sky, the shady areas in your picture of being lit not by the sun directly, but by the blue sky, which makes them bluish. So do you see what happens here? And we have a lot of blue in there? So if you ever use d hayes, you're gonna have to be very careful with increasing vibrance you're going to find it has way too much of a tendency of making those shadowy areas way to blue there is something we can do about it after we apply it to a couple other pictures I'll share with you a little bit of a solution to try tio fix that let's, try this on a few different images here again, you see the kind of hazy feeling up here and you notice when it's hazy the darkest areas up there are not very dark. They're not close to black is I come in here to the effects area. D hayes, why, if you ever find the haze is not available, which, for me, it wasn't if you look here, the word d hayes is great out. So are some of the other sliders that air here, but some sliders air available, like amount? If you ever have that happen to you and wondering what's going on, what it means is the image that you have is an older picture that you used in an older version of light room in that older version of light room had a different set of adjustment sliders available different than the current version of light room in this version of light room is trying to maintain the look of your picture, so it doesn't change just by loading into a new version of light room instead of trying to maintain the appearance, and so if you actually look at the sliders that are available you find that the basic sliders here are not the ones who usually have in the most current version of light room, you would usually have a highlight slider. You usually have a shadows slider, we don't have them here. Instead, we have the old kind. We have recovery in phil light, so if you ever find that a new feature is simply not available with an image, it means that image was adjusted with an old version of light room, and it will tell you that indicate that by putting a little lightning bolt right here underneath the history graham and if you mouse over, it'll tell you how old it is. This is adjusted with a version of light room that was from back in two thousand ten, so it's giving you the sliders for their and d hayes wasn't available. Just click on this lightning bolt and you'll update the picture. It might change in appearance slightly because it's going to use slightly different sliders, usually once that are higher tech and more sophisticated in the newer version of light room and that's going to make it so that feature that is a new one. Instead of being great out, it will be available, so I'm glad that happened to me I didn't plan it so let's, take a look, d hayes on this one. Now you're going to find also with d hayes that it's rather important to adjust your white balance if you're white balance is off a little bit you're going to find the colors in those areas that have been darkened will be rather noticeable so after adjusting the haze or even before so it's a really good idea to go over here an adjuster white balance after doing d hayes I noticed this image looks rather blue so I'm just going to move the temperature slider away from blue to see if I can get that to look a little less color is the way I like them yes ben the point about the version of light room that your photos were processed in is important to people that are upgrading now do we have tio select all of our photos to get them to update two the new version so that you don't encounter that with each image well what I would say is images that you have already adjusted and you already like don't need to be updated because you like them and you don't necessarily want them look different whenever you update him it will change the appearance of them slightly and sometimes it can be somewhat radical because there's the technology behind the sliders that are in the modern version of light room are quite different they're more sophisticated and it might not be able to reproduce the exact same look is the old one so I don't want to take all my images and update him because if I've made prints from some of those images and I want to make prints that looked the same next year and the year after, I don't want to update him I want to keep the old ones it's on ly those images you're not done with that you know you're going to want to be adjusting like right now from about to adjust ten images I could goto a folder or a collection of those ten images select them all and then click on the lightning bolt top date them, but I wouldn't update every single image you have because then they can look different and if you make a print from it again, it will look different than when you've made in the past so that's why they put that in there it's a feature another question just in conjunction with that, I found that if I change an image with the update to current version and I don't like it it's in the history so I can just go step one and returned to what it wass yeah it's a great thanks for bringing that up if you ever do updated it's not a permanent thing you always have a full history of what you've done to your image and so if you look in the history which is on the left side of your develop module it's going to list everything you've done I've done a bunch to this image it tells you right here update two current process two thousand twelve that's when I updated this particular image and if I were to click on the step right before that I would see what the image looked like before I had done that here it shows I updated and then I started doing more stuff and what did I do d hate on this one so yes it's nice that you have that in your history you're slated also in this image though the very top one says reset that means I cleared off adjustment setting therefore you guys would see an unadjusted picture they've got to be careful with d hayes if your images rather extreme you will be able to go down here to d hayes and do a rather extreme adjustment but what I find is sometimes you get artifact ing the place we're going to notice the artifact in the most is if I have any little specks of dust in the image where extremely bright highlights sometimes I get artifacts were exaggerates things in ways you wouldn't expect in this particular image let me zoom up and take a look at what's happening to some of the highlights you see what feels like most black blobs on them over here you see little hints of elements well those are things I can usually retouch out but I just need to be aware of it so I know to look for it if you ever have small little really bright highlights that air close toe white take a look really close at yuri much once you're done or if there might be the little bit of dust that was in that image see if how much they're being exaggerated because if all you ever do is viewed from a distance like this, you might not realize that you can get that on occasion then let's look at another image we'll just d hayes this one as well and what you'll find is you get that blue often and again you go up to the basic area where you have white balanced and you can shift things away from blue. This is an image that was captured quite a while ago with a very dirty sensor, but de hazing is going to make it more obvious that it was dirty, but if I adjust this intel, the mountains start looking less blue, the water doesn't look so good and if I push it to left the water looks nice and blue, then the mountains or too much so just realize that any time you are doing white balance, you don't have to do white balance across your entire image with the same settings you can go to the adjustment brush or to this thing called the graduated filter and if you were to with graduated filter in this case click and drag I'm going to put it in here and then to do the angle I'll go out I find adjusting the angle is easier when I, um and further away from this little dot that is the middle point but I can put that in there we're all I did was click and drag and what it does is it defines I want a different setting up here at the top I wanted to fade out across this area and then do nothing at the bottom and then here I can adjust my white balance just for that portion. But let's look at other solutions when we have problems with what's going on after applying d hayes if I remember correctly this image once I got d hayes up there quite a bit, the shadow started getting rather blue. The other solution to you solve that is to go to an area in light room that is called split tony. And what split tony and does is it allows you to force a color into the brightest part of your image or the darkest part of your image in every color has an opposite, so he had too much of a particular color in your highlights or shadows. If you can figure out what the opposite color is in push it in there it can absorb whatever you have an excess of when it comes to blue, the opposite of blue is yellow. And so what I could do here is I see a lot of blue here in the shadows. I'm going to come down here to the area of split toning for the shadows and I'm gonna point it over here it yellow now there's a hidden feature in here and that is if you hold down the option key alton windows, it will show you what this looks like if you hold on option right now all tom windows and click it's going to preview it and I'm going to move this around and just see where do I get rid of the most blue without introducing too much of another color right about there and then I bring up saturation to control how much of that color house, how aggressive do I want to be at forcing yellow into the dark part of my image? But as I bring it up, you see those shadows becoming less and less bluish. So when I end up using the haze, sometimes I need to do to a white balance because some areas just to get to be too much. Other times I have to do split toning, and the final thing that I might do is if there was no blue sky in the image at all the thirty area I could go to in light room is this area called h s l n h s l there's, a slider for blue, and you have saturation. I could just lower the saturation on the blues. That just means make the blues less colorful. So we have this new feature to called the haze. It doesn't mean that all by itself, though. It's, perfect for all her images. In order to get around its limitations, you have to know about h s l split, toning, or be able to paint in different white balances. If you don't know about that part, you'll find the d hayes is much more limited in its usefulness.

Class Description

Technology is always evolving - make sure you keep pace with it. Join Ben Willmore for Photoshop and Lightroom Creative Cloud Additions and get up to speed on 2015 updates from Adobe.

In this comprehensive class, you’ll learn about all of the changes Adobe made in 2015 and how to integrate them into your daily workflow. You’ll learn about:

  • Raw high dynamic range
  • HDR + raw panoramas
  • Dehaze Adjustments
  • Retouching tool changes
  • Face Detection and Recognition
  • Blur Gallery changes
  • Rendering trees and flames
  • Local adjustment additions
  • Radial and gradient brushes
  • Hidden and hard to find additions

If you’ve watched any of Ben’s previous courses, this will be a great way to update your knowledge and ensure you know about all the latest features.

2015 has been a big year of updates from Adobe for the Creative Cloud, so get up-to-date on those changes in Photoshop and Lightroom Creative Cloud Additions with Ben Willmore.

Software Used: Adobe Photoshop CC 2015, Adobe Lightroom CC 2015.1

Class Materials

Bonus with Purchase

Ben Willmore - Class Handbook.pdf

Ben Willlmore - LayerComps Example.tif

Ben Willmore - Lightroon Dehaze Preset

Ben Willmore - DeHaze Preset Pack Quick Start Guide.pdf

Ratings and Reviews

Student Work

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Got to "know" Ben during Photoshop Week and a few other courses. He has consistently been one of my favorite Photoshop instructors. He is extremely easy to follow, stays on point without being cold or boring, and is immensely knowledgeable on just about everything Photoshop. He does not disappoint in this fantastic in-depth review of some great new features in PhotoShop and Lightroom CC 2015 ... there are some real hidden gems in there for you. Ben polishes them up and serves them to you with extra info, insight, and pertinent examples. He goes the extra mile to answer questions and delve into related subjects without going off the rails. GREAT, GREAT course. Thanks Ben, and Creative Live! -Tim K.

Jose A De Leon

I just purchased this course today and it's wonderful. Ben is one of the best Photoshop instructors I've encountered. I had purchased the complete Mastery course and this one is a welcome addition since it covers new features. Even though Photoshop and Lightroom will continue to evolve, the basic techniques and tools used are basically the same, so I find myself going back to the mastery course if I hit a bump along the way. Ben's knowledge is second to none, but his true gift is the ability to transmit all that knowledge in bite size and understandable portions that are never boring. Someday I will have the privilege to know him personally, in the meantime I will continue to buy his courses as they come out. Such a wealth of information. Thanks Ben and CreativeLive!


Ben is a wealth of knowledge and covers the material beautifully. Highly recommend his workshops to others!